Dutch studio Raw Color has an exquisite eye for unique and memorable colour palettes. I love their identity for TextielMuseum and TextielLab and the wide palette created by using different intensities of five dusty bright hues and pops of neon. Cerulean blue and neon pink? Yes please! The typography is also beautiful as letters T, M and L overlap in varying opacities to create distinct colour combinations and overall patterns that mimic textile weaving. The opacities are turned up or down depending on if the lab or museum is the focus of the collateral. Entrance cards, stationery, stickers, publications, tea towels, building flags – the identity is wonderfully flexible and reflects modern textile patterns.

(image via raw color)

Bold typography, bright colour AND a handcrafted one-of-a-kind soul? Now that is the recipe for great print design. I love this simple but striking flyer design by Amsterdam studio OK200 for The Amsterdam New York Pop Up Show. Using the pink poster designs they hand-silkscreened for the event, the duo added a navy blue layer of flyer information on top. They sliced through the now chaotic surface to create 16 beautiful and unique flyers. I love the abstract typography crops and smashing mix of hot pink and navy blue…

(photographs via OK200)   

Product packaging is an essential part of retail design and is a fabulous resource for design inspiration. I love bold type placement and treatments, bright pops of colour, and collections that embrace a range of unique yet united typography.

Yes, I have a thing for retail exteriors and signage. One look I love lately is small but powerful typography. With strong contrasts or in handsome wee neon, the style can make an exterior look rather chic.

Old school hand-lettering, cursive neon, striking handwriting, creating words out of tile — typography based on hand-drawn type can look smashing in design and retail. Done right, it feels modern rather than trendy. I particularly love the craftsmanship it adds to any design. Seek out friends with magnificent penmanship!

I strongly dislike the typeface Papyrus. There, I said it. I get itchy when I see it and feel disturbed when companies, events and shops use typography derived from Microsoft Word to brand themselves. When it comes to telling the world who you are, why use a generic (and probably not design-focused) voice? Not only will you get lost in a sea of competitors also using “Word magic” but standing out in a stylish way becomes virtually impossible. In my latest post for Rena Tom, I showcase how great typography can make all the difference in the quest for memorable design and branding. While focused on retail, the need for fantastic typography is universal so the images hopefully inspire all type-related projects. Take a peek at my post here…

(packaging images via: ddmmyy, raw type, de-construct,cool hunting, lovely package, and slingshot coffee co.; small type images via new places to be, design*sponge, dezeen, and scout magazine; hand-drawn images via la potenza, trish papadakos, remodelista, kristen leigh, kinfolk, wallpaper and remodelista)

A fantastic print campaign for Expedia by Ogilvy & Mather that uses airport IATA codes to form clever travel-related phrases. There are over 9,000 three-letter IATA codes for airports around the world so I can imagine it was quite the task to sort through them and find witty copy. For example, WSH EWE WRE ERE (or Brookhaven, Ewer Indonesia, Whangarei, Erave) and SUN SEA SND SEX (or Sun Valley, Seattle, Seno, Sembach). I love the pops of colour and stamps in the corner providing a bit more context to the travel code wish. Oy, so simple and brilliant. There is plenty of fun to be found in the luggage carousel…

(photographs via/spotted on creative review)  

Modern neon, bright colour and strong typography — is there a better combination? The Melbourne Theatre Company utilizes all three elements in their 2013 season identity created by Interbrand. I love the custom typography called ‘MTC Neon” and its modern angles, glowing finish and nod to theatrical heritage. A glowing typeface could easily appear cheesy or fake in print but I think Interbrand does a smashing job of using the effect in an truly elegant way. Appearing on dark photographs and backgrounds, it allows titles and type to dramatically “light-up” different scenes (regardless of application). I particularly like the program covers as they highlight how the typeface could be used in photographed or physical 3D. Arts are an illuminating pillar in our society and here, Interbrand has crafted an identity that really captures that sentiment…

(spotted on and images via BP&O) 

I am woefully behind on my Christmas cards this year. Let’s hope they don’t turn into “happy spring” messages! While I may be in denial of how far we are into December, I wanted to round-up some holiday cards that have tickled my fancy this year. It’s not too late to mail cards, deliver them in person or choose winter-focused designs that can be used for “happy new year” messages. While there is plenty of interactive potential in e-cards, there is just something warm and wonderful about a true paper card. Beautiful illustrations or modern typography, I love how holiday cards manage to be full of great design and messages of good tidings from your loved ones. Oh and they sure perk up mailboxes and mantles…

(designers/sources from top: sugar paper, terrain, cotton on, the indigo bunting, the indigo bunting, pretty paper please by mélanie kimmett, paper source, Rifle Paper Co., kate spade, pretty paper please by mélanie kimmett, slim paper, cotton on, terrain, present+correct)

Gorgeous lettering by illustrator Lord Bunn for the rear of The Great Gatsby pub in Sheffield, England. I love it when a typical graffiti location features beautifully modern typography. Streetscape meets art gallery…

(photograph via lord bunn; spotted on typeverything)   

I love this typographic chess set by hat-trick design‘s Jim Sutherland based on characters from the Hoefler & Frere-Jones typeface Champion. Laser-cut acrylic letters and a greyboard foiled in black – what a handsome piece of design. I can only hope there will be a new trend of interpreting board games in beautiful, modern ways…

(spotted on creative review; set purchase info here)   

Last year, I posted about designer Konstantin Datz’s gorgeous braille rubik’s cube and it remains one of my favourite pieces of thought-provoking design. I came across Konstantin’s folded paper typeface this morning and fell in love with the sharp angles. Featured on the cover of Web Designer magazine, there is a real modern paper craft meets origami feel…

(images via konstantin datz)  

I’ve always found open and closed signs are ignored elements of retail design. But why? Even on a wee sign, there is so much potential to create brand beacons, points of design interest and small but mighty information centres. In my latest post for Rena Tom, I showcased some inspiring examples (it took a ridiculous image hunt!) and explored ideas such as 3D materials, modern type and unique surfaces. Let’s hope this is the next big retail design trend! Take a look at my post here…

(photographs via snap713, the design files, emma carlow, sunshine to you, elle decoration, portland garment factory, rebecca plotnick and bonjour johanna) 

I love when strong wayfinding, a unique colour palette and beautifully detailed typography come together and this show signage by Raw Color pulls that trifecta off with aplomb. Created for the “Eating by Design” exhibition exploring all avenues of food design, Raw Color was inspired by commercial signage and supermarket shelving. I love the 11 shade palette and sublime CNC milled plywood typography. I wouldn’t mind one of those giant letters hanging on my wall as art. As always, I love the popsicle stick process Raw Color uses to find the perfect hue range…

(images via raw color)

Yep, more proof I am obsessed with modern neon. I love these personalized neon signs by Penny Farthing Design House. The Australian studio handcrafts each sign in whatever word or colour you can think of. What an unexpected pop of happy created amid rustic or chic interiors…

(photographs via penny farthing design house and poppytalk)

My love for modern, typography-focused neon grows daily it seems. This once-of-a-kind neon sign by Adam Garcia is a perfect example of why. Oy, how I would love to put this wise and handsome gem on a studio wall…

(spotted on colossal)

Photographer Joshua Scott created this fantastic toy typography for a youth-focused feature in BULLETT Magazine. The layers of vibrant objects create a playful yet artful texture that works wonderfully with the modern type shapes (the result of perfectly selected colour, shape and scale). I always knew something brilliant could be done with those bright Barbie brushes…

I love this exuberant branding for Dan Arisa, a Spanish musician and per­cus­sion­ist. Barcelona-based designer Alex Dalmau created the sherbet-hued identity and I think the exclamation point fits just perfectly for a drummer. Like a typographical “hi hat” perhaps? Love the branded drum sticks and musical noises on the letterhead too. More musicians need fabulous personal collateral methinks…

(photographs via alex dalmau, spotted on designworklife)

This lightbulb typography sculpture by Brighton-based designer Kyle Bean stopped me in my tracks this morning. The piece was created for a Time Magazine ’10 Ideas’ feature and manages to be both industrial and delicate. It is a great play on the “light goes off” element of idea creation and makes me want to see an entire installation playing with light bulb typography…

(photograph by victoria ling via kyle bean)